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Exorcist

Exorcist New york
March 23, 2018
19

 Exorcist

Exorcist Executive Summary

Exorcist New york

March 23, 2018
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  1. The Exorcist Story The Exorcist was written by William Peter

    Blatty in 1971. This blockbuster novel has sold over 13 million copies in the United States alone. It has been translated into 14 languages. Warner Bros. produced and distributed the movie in 1973. It garnered record box office receipts and remains in the top 15 grossing films of all time. The film went on to win three Academy Awards including Best Adapted Screenplay for William Peter Blatty. While the movie is one of, if not the greatest, horror films of all time, the stage production maintains the scariest iconic moments and is a riveting dramatic thriller about the positive power of “Faith”.
  2. In 2016, our production, written by John Pielmeier and directed

    by Sean Mathias, premiered at the Birmingham Repertory Theatre in the UK. It opened to strong reviews and sold out houses. Birmingham UK / Phase 1
  3. In 2017, Bill Kenwright Ltd produced an enhanced version of

    the Birmingham production in The West End of London, opening to glowing reviews. In addition to regular theatregoers, the Play also drew a strong number of first time patrons who were younger and more diverse. West End London UK / Phase 2 To view London TV commercial Click on button below London TV commercial
  4. New York / Phase 3 After the successful run in

    the West End, “The Exorcist” will open at The Shubert’s theatre on 42nd Street in New York City, tentatively scheduled for April, 2019.
  5. Comments by our London cast Ian Mckellen – the voice

    of the “Demon” Jenny Seagrove – “Chris”
  6. Global Licensing / Phase 4 Brand awareness for “The Exorcist”

    is extremely high. Our title enjoys worldwide recognition and evokes an immediate reaction. Offers have already come in from Italy, Mexico and the Netherlands. We will aggressively license the play for domestic national touring, repertory theatres, colleges, high schools and internationally. Investors will participate in all revenue streams. Italy Mexico Canada Germany Brazil Israel France Netherlands
  7. Evergreen/Controversial/Profitable The Novel The Film The Play Since the original

    novel was published in 1971 and the film was released in 1973, there have been 4 sequels and at least 49 other feature films with an exorcist theme. There is currently the television version which has just completed its second season on Fox. Innumerable fiction and non-fiction books have been published since the original novel made its debut. The public interest in exorcism has remained constant and the Vatican’s recent actions (see by clicking button below) reaffirms its relevance . To view new Vatican report on Exorcism Click on button below Vatican report on exorcism
  8. OUR CREATORS William Peter Blatty (Original Author) Films: The Exorcist

    , The Exorcist III; Ninth Configuration; A Shot in the Dark; Darling Lili; Promise her anything; The Great Bank Robbery; The Man from the Diner’s Club;; Gunn; Mastermind; What did you do in the war, Daddy? Novels: The Exorcist, Elsewhere, Dimiter, and Crazy, Demons Five, Exorcist Nothing, A Fable and Dimiter, The Exorcist For The 21st Century, Finding Peter: A Wild Ride In Search Of The Soul, Smoke And Mirrors anthology, featuring the teleplay "Hell Hospital" and the treatment "Faith“ Awards: Academy Award John Pielmeier (Playwright) Plays: Agnes of God; Voices in the Dark; The Exorcist; Boys in Winter Television: The Pillars of the Earth Novel: Hook’s Tale, Awards: Humanitas Award , five Writers’ Guild Award nominations, a Gemini nomination, an Edgar Award, the Camie Award, a Christopher Award, and his projects have won a Gemini Award and been nominated for the Emmy Award (three times) and the Golden Globe Award. Sean Mathias (Director) Plays: Bent (starring Ian McKellen, Uncle Vanya (Ian McKellen and Anthony Sher), Talking Heads, Design for Living (Rachel Weisz and Clive Owen), Les Parents terribles (Jude Law), Indiscretions (Kathleen Turner, Eileen Atkins and Cynthia Nixon), A Little Night Music (Judi Dench and Sean Phillips), Marlene (Sian Phillips, Anthony and Cleopatra (Alan Richman and Helen Mirren, Dance of Death (Ian McKellen and Helen Mirren), The Elephant Man (Billy Crudup), Company (Lynn Redgrave), The Cherry Orchard (Annette Benning and Alfred Molina), Waiting for Godot (Ian McKellen and Patrick Stewart), Breakfast at Tiffany’s (Anna Friel), Film: Bent Author: Cowardice, Infidelities, A Prayer For Wings, Poor Nanny, and Swansea Boys Awards: Edinburgh Fringe First Award, a Prix de la Jeunesse at the Cannes Film Festival, a Critics' Circle Award nominations for the Olivier and Tony Awards.
  9. Our Team Anna Fleischle (Set Design) Plays: The Exorcist, Hangman,

    The Noble Kinsman, Henry V, Blindsided, Exit the King, Troiles and Cressida, Corem Boy, among many others Opera: King Priam, Paul Bunyon, Candide, Don Giovanni among many Awards: Olivier Award 2016: Best Set Design (Hangmen), South Bank Sky Arts Awards, Critics Circle Award 2016, Evening Standard Award 2015: What's On Stage 2017 Opera Poll / Best New Production , Olivier Award 2014 Ben Hart (Illusion Design) Plays: The Exorcist, A Christmas Carol, Wild, Impossible, The Arthur Conan Doyle Appreciation Society, Paul Merton, Doctor Faustus, Darker Shores, Killer Magic, Stage Fright, The Egg Trick (Ian McKellen) Wonderland, Fatal Distraction, Fatherland Awards: Young Magician of the Year UK Greg Meeh (Special Effect Designer) Plays & Musical: Lord of the Rings (Toronto and London), Angel’s In America, Phantom of the Opera, Elton John’s Aida, Disney’s Beauty and the Beast, Julie Taymore’s Juan Darien, Songs and Stories From Moby Dick, Spamalot, Cirque du Soleil’s Ka and Wintuk Author: Introduction to Modern Atmospheric Effects Awards: Drama Desk Award , EDDY Award, Live Design International “ Adam Cork (Sound Design & Composer) Plays & Musical: The Exorcist London Road , King Lear , Enron, Genius, (Colin Firth, Jude Law and Nicole Kidman), Richard II from the BBC’s Hollow Crown trilogy ( Ben Whishaw and directed by Rupert Goold), Red Awards: The Exorcist, Tony Award, Olivier Award, Drama Desk nominations, Evening Standard Award, Critics' Circle Award
  10. one of the top 15 grossing films of all time.

    a dramatic play about the positive power of faith. a highly recognizable global brand. the star, and will have a ensemble cast of outstanding actors. strong West End reviews. attracted a passionate audience with many seeing it multiple times. a strong creative team led by Broadway/West End Director Sean Mathias (most recently having directed No Man’s Land, Waiting for Godot & Breakfast at Tiffany’s). attract a diverse & young audience similar to our West End experience. be a highly theatrical event and provide audience moments to experience the action on stage through magic and special effects. be the only dramatic thriller in the marketplace filling a “white space” opportunity.
  11. THIS DOCUMENT DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT, AND

    INCLUDES PROJECTIONS THAT ARE STATEMENTS OF OPINION, NOT FACT. ALL INVESTMENT CAPITAL IN THE PROJECT DESCRIBED IN THIS MEMORANDUM IS SUBJECT TO LOSS, AND ALL INVESTMENTS ARE UNSECURED BY ANY COLLATERAL. IF THE CAPITAL INVESTED IN THIS PROJECT IS LOST, YOU WILL NOT RECOVER ANY PORTION OF YOUR INVESTMENT. THIS MEMORANDUM DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE PROJECTIONS DESCRIBED HEREIN ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. CONFIDENTIAL INVESTMENT OVERVIEW AND INVESTMENT DISCLAIMER This Investment Overview is for the confidential use of only those persons to whom it is transmitted by authorized representatives of Sprecher/Snyder Productions Inc. This Investment Overview is only used for purposes of describing estimated budget summaries and estimated projections and a description of personnel involved with the production, and is not to be reproduced or used for any other purpose. The securities which can only be offered with the actual investment documents as described below have not been registered under the Securities Act of 1933, as amended. The securities have not been approved or disapproved by the securities regulatory authorities of any state or by the United States Securities and Exchange Commission, nor has any authority or commission passed upon the accuracy or adequacy of this Investment Overview. This Investment Overview does not constitute an offer or solicitation in any state or in any other jurisdiction in which such an offer or solicitation is not authorized. Any representation to the contrary is unlawful. Such an offer or solicitation can only be made by the Limited Partnership Agreement, Subscription Documents and other accompanying documents. Exorcist Broadway LP is open to accredited investors only. The final terms and conditions of the investment will be set out in full in the applicable investment documents. Each potential Investor, by accepting delivery of this Investment Overview, agrees not to make a photocopy or other copy or to divulge the contents hereof to any person other than a legal, business, investment or tax advisor in connection with obtaining the advice of such persons with respect to this offering. This document does not disclose all the risks and other significant issues related to an investment. Prior to transacting, potential investors should ensure that they fully understand the terms of the investment and any applicable risks. The possibility exists for an investor in Exorcist Broadway LP to lose his or her entire investment. An investment in Exorcist Broadway LP will be illiquid and unsalable. With respect to any estimated performance information contained herein, prospective investors should bear in mind past performance is not necessarily indicative of future results and that there can be no assurance the investment will achieve comparable results. Future conditions may require actions that differ from those contemplated at this time, and there can be no assurance that the estimated projected results will be achieved. There may be differences between these projections and actual results because events and circumstances frequently do not occur as expected, and those differences may be material and adverse. Prospective investors are cautioned not to place reliance on these projections. All figures are estimates as of March 20, 2018 otherwise noted. All included photos are of the 2018 London West End Production which used the identical Physical production design developed for the upcoming New York production.
  12. The Exorcist Production Budget Summary March 20, 2018 ALL NUMBERS

    ARE APPROXIMATE AND ESTIMATES. ACTUAL NUMBERS MAY DIFFER DESCRIPTION PRODUCTION COSTS Scenery 500,000 Automation 50,000 Props 20,000 Costumes 15,000 Hair and Makeup 10,000 Lighting 35,000 Special Effects/Pyro 50,000 Sound 50,000 Design Studio Expenses 15,000 Departmental Expenses 15,000 Transportation 20,000 Take-in Expense 100,000 PHYSICAL PRODUCTION 880,000 Author Fees 20,000 Creative Fees & Salaries 50,000 Design Fees & Salaries 75,000 Management Fees/Salaries 50,000 Technical Fees & Salaries 75,000 TOTAL FEES & SALARIES 270,000 Rehearsal/Casting Expenses 375,000 Promotion 825,000 Theatre 75,000 General & Administrative 100,000 Travel 25,000 TOTAL OTHER 1,400,000 CONTINGENCY 300,000 ADVANCES 100,000 BONDS 50,000 CAPITILIZATION TOTAL 3,000,000
  13. Exorcist Weekly Operating Cost Budget Summary March 10, 2018 ALL

    NUMBERS ARE APPROXIMATE AND ESTIMATES. ACTUAL NUMBERS MAY DIFFER. LINE ITEM OPERATING BUDGET SALARIES & BENEFITS Actors' Equity 16,000 Stage Crew 5,500 Management & Other 4,500 Total Equity Salaries 26,000 RENTALS & DEPARTMENTALS Rentals 3,500 Departmentals 750 Production Reserves 750 Total Rentals 5,000 REHEARSALS & CASTING 500 THEATRE EXPENSES Theatre Staff & Crew 3,500 Theatre License Fee 7,500 Theatre Expenses 3,500 Total Theatre Expenses 14,500 GENERAL & ADMINISTRATIVE General & Administrative 4,000 Travel, Housing & Per Diem 1,000 Total General & Administrative 5,000 WEEKLY EXPENSE (Before Marketing and Advertising, Royalties and Theatre Contingent Rent) 51,000 MARKETING & ADVERTISING 40,000 FIXED ROYALTIES & FEES 9,000 TOTAL WEEKLY OPERATING EXPENSE 100,000
  14. 3/13/2018 The Exorcist Recoupment Schedule Based on theatre of 499

    seats 7:33 PM For discussion purposes only THE EXORCIST Shubert Theatre on 42nd Street Seats per performance 499 Seats per week 3992 Performances per week 8 Full Capitilization 3,000,000 Les Recoupable Advances (100,000) Less Bonds and Deposits (50,000) TO BE RECOUPED $2,850,000 Box Office Potential ($90 x499 x8) $359,280 PRE-RECOUPMENT 90% 70% 50% 33% GROSS BOX OFFICE RECEIPTS $323,352 $251,496 $179,640 $118,562 Less Deductions (9.5%) (30,718) (23,892) (17,066) (11,263) NET WEEKLY GROSS BOX OFFICE RECEIPTS $292,634 $227,604 $162,574 $107,299 Merchandising Income 3.00 per capita $10,778 $8,383 $5,988 $3,952 Operating Costs (51,000) (51,000) (51,000) (51,000) Marketing Costs (40,000) (40,000) (40,000) (40,000) Theatre Percentage Rent (5%) (16,168) (12,575) (8,982) (5,928) WEEKLY OPERATING PROFIT $196,244 $132,412 $68,580 $14,323 Royalty Pool/Guarantee (9,000) (9,000) (9,000) (9,000) NET PROFIT / (LOSS) $187,244 $123,412 $59,580 $5,323 AVAILABLE DISTRIBUTION TO INVESTORS PRE RECOUP $187,244 $123,412 $59,580 $5,323 WEEKS TO RECOUPMENT 15 23 48 ---
  15. THIS DOCUMENT DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT, AND

    INCLUDES PROJECTIONS THAT ARE STATEMENTS OF OPINION, NOT FACT. ALL INVESTMENT CAPITAL IN THE PROJECT DESCRIBED IN THIS MEMORANDUM IS SUBJECT TO LOSS, AND ALL INVESTMENTS ARE UNSECURED BY ANY COLLATERAL. IF THE CAPITAL INVESTED IN THIS PROJECT IS LOST, YOU WILL NOT RECOVER ANY PORTION OF YOUR INVESTMENT. INVESTMENTS CAN ONLY BE MADE THROUGH THE AGREEMENT OF LIMITED PARTNERSHIP AND SUBSCRIPTION DOCUMENTS. WHILE NO ACCURATE INDUSTRY STATISTICS ARE AVAILABLE, IT IS ESTIMATED THAT OF THE COMMERCIAL PLAYS AND MUSICALS PRODUCED IN THE UNITED STATES IN THE 2017-2018 SEASON, THE GREAT MAJORITY RESULTED IN A LOSS TO THE INVESTORS AND HAD LESS THAN A 1-YEAR RUN.THIS MEMORANDUM DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE PROJECTIONS DESCRIBED HEREIN ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. POTENTIAL INVESTMENT RETURNS Investment returns in any New York production are primarily a function of the average revenue received per available seat that could be sold, and the length of time a show runs. The Exorcist New York LP (“ENYLP”) Investors receive an aggregate 50% share of Adjusted Net Profits, pro-rata based on the amount invested against total ENYLP capitalization. Three projection cases for discussion purposes They are not meant to be relied upon by you in deciding to invest • Aggressive Performance Case – The Exorcist is a “hit”. The Aggressive Case assumes $81 average revenue per available seat, and a 3-year run on New York. • Base Performance Case. The Base Case calls for $63 average revenue per available seat, and a 3-year run on New York. • Weak Performance Case. The Weak Performance case assumes $45 average revenue per available seat and 3-year run time. Because The Exorcist breaks-even at only an estimated $30 per ticket average revenue per available seat, The Exorcist would continue to run so long as it is operating above break-even. The following table presents the estimated approximate return potential for investors in our Aggressive, Case, Base Case, and Weak Case. Investor returns on $1 invested in The Exorcist New York LP Return achieved with cash flows over a three year period Aggressive Case ($81 revenue per seat, 3-year run) Cash returned for every $1 invested $3.65 Weeks to fully recoup initial investment 15 Base Case ($63 revenue per seat, 3-year run) Cash returned for every $1 invested $2.72 Weeks to fully recoup initial investment 23 Weak Performance Case ($45 revenue per seat, 2-year run) (Please note The Exorcist break-even is $30 per seat) Cash returned for every $1 invested $1.66 Weeks to fully recoup initial investment 48
  16. THE EXORCIST EXORCIST NEW YORK LP Aggresive Performance Case Year

    2 Year 3 Q1 Q2 Q3 Q4 Total Distributions to LPs $2,434,184 $960,775 $689,459 $689,459 $2,773,836 $2,861,836 Cumulative Distributions to LPs $2,434,184 $3,394,959 $4,084,418 $4,773,878 $7,547,714 $10,409,550 Multiple of initial investment amount 0.85 1.19 1.43 1.68 2.65 3.65 Investor Returns Table All LPs Total Capitilization $3,000,000 Amount to Recoup $2,850,000 Estimated Box Office Gross (50% Capacity) $323,352 Average Ticket Price (based on 499 seats) $81 Paid Attendees (Merch @ $3.00 per capita) 3,593 Weekly Available distribution to Investors $187,244 LP Profit Share 50% Year 2 Year 3 Total Q1 Q2 Q3 Q4 Gross Box Office 4,203,576 4,203,576 4,203,576 4,203,576 16,814,304 16,814,304 50,442,912 Operating Expenses Ticket Commisions and Fees 399,340 399,340 399,340 399,340 1,597,359 1,597,359 4,792,077 Operating Costs 663,000 663,000 663,000 663,000 2,652,000 2,652,000 7,956,000 Marketing Costs 520,000 520,000 520,000 520,000 2,080,000 2,080,000 6,240,000 Theatre Percentage Rent (5%) 210,179 210,179 210,179 210,179 840,715 840,715 2,522,146 Royalty Pool Guarantee 117,000 117,000 117,000 117,000 468,000 468,000 1,404,000 Total Operating Expenses 1,909,519 1,909,519 1,909,519 1,909,519 7,638,074 7,638,074 22,914,222 Net Box Office Revenue before Variable Creative Percentage Royalties 2,294,057 2,294,057 2,294,057 2,294,057 9,176,230 9,176,230 27,528,690 Merchadise Income 140,127 140,127 140,127 140,127 560,508 560,508 1,681,524 Ancillary Income from International License and Stock & Amatuer 0 0 0 0 32,000 208,000 240,000 Less: Variable Royalties (40% pool post recoupment) 0 807,348 917,623 917,623 3,670,492 3,670,492 11,780,086 Less: Contracted Third Party Net Profit Participation (10% for creative pool) 0 121,102 137,643 137,643 550,574 550,574 2,945,021 Net Operating Profit 2,434,184 1,505,734 1,378,918 1,378,918 5,547,672 5,723,672 14,725,107 Total Operating Profit for Distribution 2,434,184 1,505,734 1,378,918 1,378,918 5,547,672 5,723,672 17,969,099 Year 1 Year 1 Theatre Capacity 499 seats Performances per week 8 Average Realized Revenue Per Available Seat $81 THIS INVESTMENT OVERVIEW DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE ESTIMATED PROJECTIONS DESCRIBED ABOVE ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. WHILE NO ACCURATE INDUSTRY STATISTICS ARE AVAILABLE, IT IS ESTIMATED THAT OF THE COMMERCIAL PLAYS AND MUSICALS PRODUCED IN THE UNITED STATES IN THE 2015-16 SEASON, THE GREAT MAJORITY RESULTED IN A LOSS TO THE INVESTORS AND HAD LESS THAN A 1-YEAR RUN. Approx 15 weeks 100% Capital Recoupmenent
  17. THE EXORCIST EXORCIST NEW YORK LP Base Performance Case Year

    2 Year 3 Q1 Q2 Q3 Q4 Total Distributions to LPs $1,604,344 $1,439,348 $458,235 $458,235 $1,848,940 $1,936,940 Cumulative Distributions to LPs $1,604,344 $3,043,692 $3,501,927 $3,960,162 $5,809,103 $7,746,043 Multiple of initial investment amount 0.56 1.07 1.23 1.39 2.04 2.72 Investor Returns Table All LPs Total Capitilization $3,000,000 Amount to Recoup $2,850,000 Estimated Box Office Gross (50% Capacity) $251,496 Average Ticket Price (based on 499 seats) $63 Paid Attendees (Merch @ $3.00 per capita) 2,794 Weekly Available distribution to Investors $123,412 LP Profit Share 50% Year 2 Year 3 Total Q1 Q2 Q3 Q4 Gross Box Office 3,269,448 3,269,448 3,269,448 3,269,448 13,077,792 13,077,792 39,233,376 Operating Expenses Ticket Commisions and Fees 310,598 310,598 310,598 310,598 1,242,390 1,242,390 3,727,171 Operating Costs 663,000 663,000 663,000 663,000 2,652,000 2,652,000 7,956,000 Marketing Costs 520,000 520,000 520,000 520,000 2,080,000 2,080,000 6,240,000 Theatre Percentage Rent (5%) 163,472 163,472 163,472 163,472 653,890 653,890 1,961,669 Royalty Pool Guarantee 117,000 117,000 117,000 117,000 468,000 468,000 1,404,000 Total Operating Expenses 1,774,070 1,774,070 1,774,070 1,774,070 7,096,280 7,096,280 21,288,840 Net Box Office Revenue before Variable Creative Percentage Royalties 1,495,378 1,495,378 1,495,378 1,495,378 5,981,512 5,981,512 17,944,536 Merchadise Income 108,966 108,966 108,966 108,966 435,864 435,864 1,307,592 Ancillary Income from International License and Stock & Amatuer 0 0 0 0 32,000 208,000 240,000 Less: Variable Royalties (40% pool post recoupment) 0 143,475 598,151 598,151 2,392,605 2,392,605 7,796,851 Less: Contracted Third Party Net Profit Participation (10% for creative pool) 0 21,521 89,723 89,723 358,891 358,891 1,949,213 Net Operating Profit 1,604,344 1,439,348 916,470 916,470 3,697,881 3,873,881 9,746,064 Total Operating Profit for Distribution 1,604,344 1,439,348 916,470 916,470 3,697,881 3,873,881 12,448,393 Year 1 Year 1 Theatre Capacity 499 seats Performances per week 8 Average Realized Revenue Per Available Seat $63 THIS INVESTMENT OVERVIEW DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE ESTIMATED PROJECTIONS DESCRIBED ABOVE ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. WHILE NO ACCURATE INDUSTRY STATISTICS ARE AVAILABLE, IT IS ESTIMATED THAT OF THE COMMERCIAL PLAYS AND MUSICALS PRODUCED IN THE UNITED STATES IN THE 2015-20164 SEASON, THE GREAT MAJORITY RESULTED IN A LOSS TO THE INVESTORS AND HAD LESS THAN A 1-YEAR RUN. Approx 23 weeks 100% Capital Recoupmenent
  18. THE EXORCIST EXORCIST NEW YORK LP Weak Performance Case Year

    2 Year 3 Q1 Q2 Q3 Q4 Total Distributions to LPs $748,062 $748,062 $748,062 $644,222 $881,435 $969,435 Cumulative Distributions to LPs $748,062 $1,496,123 $2,244,185 $2,888,407 $3,769,842 $4,739,276 Multiple of initial investment amount 0.26 0.52 0.79 1.01 1.32 1.66 Investor Returns Table All LPs Total Capitilization $3,000,000 Amount to Recoup $2,850,000 Estimated Box Office Gross (50% Capacity) $179,640 Average Ticket Price (based on 499 seats) $45 Paid Attendees (Merch @ $3.00 per capita) 1,317 Weekly Available distribution to Investors $55,592 LP Profit Share 50% Year 2 Year 3 Total Q1 Q2 Q3 Q4 Gross Box Office 2,335,320 2,335,320 2,335,320 2,335,320 9,341,280 9,341,280 28,023,840 Operating Expenses Ticket Commisions and Fees 221,855 221,855 221,855 221,855 887,422 887,422 2,662,265 Operating Costs 663,000 663,000 663,000 663,000 2,652,000 2,652,000 7,956,000 Marketing Costs 520,000 520,000 520,000 520,000 2,080,000 2,080,000 6,240,000 Theatre Percentage Rent (5%) 116,766 116,766 116,766 116,766 467,064 467,064 1,401,192 Royalty Pool Guarantee 117,000 117,000 117,000 117,000 468,000 468,000 1,404,000 Total Operating Expenses 1,638,621 1,638,621 1,638,621 1,638,621 6,554,486 6,554,486 19,663,457 Net Box Office Revenue before Variable Creative Percentage Royalties 696,699 696,699 696,699 696,699 2,786,794 2,786,794 8,360,383 Merchadise Income 51,363 51,363 51,363 51,363 205,452 205,452 616,356 Ancillary Income from International License and Stock & Amatuer 0 0 0 0 32,000 208,000 240,000 Less: Variable Royalties (40% pool post recoupment) 0 0 0 56,899 1,114,718 1,114,718 3,686,696 Less: Contracted Third Party Net Profit Participation (10% for creative pool) 0 0 0 8,535 146,659 146,659 921,674 Net Operating Profit 748,062 748,062 748,062 682,628 1,762,870 1,938,870 4,608,370 Total Operating Profit for Distribution 748,062 748,062 748,062 682,628 1,762,870 1,938,870 6,628,552 Year 1 Year 1 Theatre Capacity 499 seats Performances per week 8 Average Realized Revenue Per Available Seat $45 THIS INVESTMENT OVERVIEW DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE ESTIMATED PROJECTIONS DESCRIBED ABOVE ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. WHILE NO ACCURATE INDUSTRY STATISTICS ARE AVAILABLE, IT IS ESTIMATED THAT OF THE COMMERCIAL PLAYS AND MUSICALS PRODUCED IN THE UNITED STATES IN THE 2015-20164 SEASON, THE GREAT MAJORITY RESULTED IN A LOSS TO THE INVESTORS AND HAD LESS THAN A 1-YEAR RUN. Approx 48 weeks 100% Capital
  19. THIS DOCUMENT DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT, AND

    INCLUDES PROJECTIONS THAT ARE STATEMENTS OF OPINION, NOT FACT. ALL INVESTMENT CAPITAL IN THE PROJECT DESCRIBED IN THIS MEMORANDUM IS SUBJECT TO LOSS, AND ALL INVESTMENTS ARE UNSECURED BY ANY COLLATERAL. IF THE CAPITAL INVESTED IN THIS PROJECT IS LOST, YOU WILL NOT RECOVER ANY PORTION OF YOUR INVESTMENT. THIS MEMORANDUM DESCRIBES A SPECULATIVE AND HIGH RISK INVESTMENT. THE PROJECTIONS DESCRIBED HEREIN ARE NOT STATEMENTS OF FACT, AND SHOULD NOT BE RELIED ON BY YOU IN DECIDING WHETHER TO INVEST. RISKS AND MITIGATING FACTORS 1. Insufficient ticket sales to recoup some or all of initial investment. Exorcist could fail to attract the audiences necessary for ENYLP investors to recoup any or all of their initial investment. In addition, Exorcist New York LP has the potential to earn ancillary licensing revenue which could make up, to some extent, for weak New York ticket sales, were weak sales to occur, but the extent of such opportunity is unknown, and could be negatively affected in the event the New York production does not have a long run. 2. Estimate included in this Investment Overview. All estimates included herein are subject to change, and there can be no prediction that the New York production will run for any particular length of time or that it will have audiences of any specified size for any specified length of time or that all tickets sold will be at any certain price. It is highly unrealistic to expect that the New York production will achieve its maximum revenue per available seat. Furthermore, additional payments, including payments based on gross weekly box office receipts and/or weekly operating profits, may be made to persons and/or entities contributing rights, goods or services to the New York production, thereby increasing the New York Production’s expenses and the length of time until recoupment, or the establishment and distribution of Net Profits and Adjusted Net Profits. Furthermore, additional production, operating and other expenses may be incurred which would increase the budgets and consequently the period of time required to recover invested capital, or loans could be incurred by Exorcist New York LP which would further delay repayment of capital contributions or the establishment and distribution of Net Profits and Adjusted Net Profits. 3. The theatre is damaged, halting production for a period. Any New York show is subject to the availability of the theatre in which it is operating. Exorcist’s theatre could become damaged for some reason (e.g., fire), causing shows to be cancelled and delaying the return of capital and/or profits to investors. However, ENYLP carries business interruption insurance for up to 10 weeks, capped at $1.5 million, which would pay to maintain the production (staff, sets) for up to a 10 week rebuilding period. During that period, investors would not receive payments of any kind. 4. An act of terrorism negatively affects New York City tourism and the theatre business. New York is located in New York City and is subject to the risk of terrorism negatively impacting business. If the act of terrorism does not physically impact the ability to produce the musical, investors could nevertheless suffer losses if the terrorism act were to reduce New York City tourism. 5. New York theatre union labor strikes halt production. New York is a highly unionized environment with 17 unions with varied contract expiration dates. Any union could decide to strike for a period of time, delaying production and as a result, pushing back the time frame for ENYLP investors to recoup their investment and/or earn profits or limiting the ability of investors to recover their capital altogether. 6. New York tourism could decline, negatively impacting New York ticket sales. New York relies on both national and international tourism to New York to support it. New York has held up well since the 2008 financial crisis, and in fact posted record consecutive box office results during the period. This is likely due to two factors – a much more organized approach to promoting tourism by New York City, and a weakening U.S. dollar relative to other currencies. A weak economy doesn’t necessarily mean weak New York results if the U.S. dollar is weak. There is the possibility that a higher U.S. dollar negatively impacts New York City tourism, significantly reducing revenue for Exorcist.